In the buildup to the release of A Moon Shaped Pool, the video for Daydreaming had Thom Yorke walking through twenty-three doors, likely referencing his past relationship with longtime partner Rachel Owens of twenty-three years before the song ends on a back masked and heavily distorted call of "half of my life".
It'd be easy to blame a traumatic breakup and death of producer Nigel Godrich's father during the time between The King of Limbs and now, but Yorke and Godrich were involved in a solo album and a side-project release whilst the other band members also continued to expand their solo discographies so, before listening to the album, I wondered why it took five years and whether, much like the extended break between In Rainbows and TKoL, whether it was worth the wait.
Much like last time, A Moon Shaped Pool was and, is a far better record than one could imagine.
Whilst opener Burn the Witch, a song making it's long overdue welcome to the studio discography, a traditional rock song with piercing strings and simple lyrics which either cover mass surveillance or the pesky subject of mass immigration (I personally think the former, as there's been posters in London which feature the menacing line of "we know where you live" in relation to crime), the majority of the album embraces Yorke's talents on piano, on what is obviously a breakup record.
Unlike Coldplay's attempt at this which, even two years later, brings on shudders associated with PTSD, Radiohead's is a more sombre and, simply beautiful reaction to heartbreak, to the point where like a fawning fangirl, you'll hope that Yorke wins back the girl, like he's in the 80's and has a boombox over his head playing these ballads whilst the girl looks on from a balcony, preparing to call the authorities.
Daydreaming is six minutes of piano ambiance in similar style to Sigur Rós' slower and longer songs, the synths introduced reinforce this and give the music a more triumphant sound, whilst the lyrics conflict and create the picture of a hopeful but downtrodden protagonist who's still happy to dream.
Obviously the biggest contributing element to the record other than Yorke's personal problems and piano is Jonny Greenwood introducing strings. In the extended gaps between albums, Greenwood has made a name for himself as quite the accomplished composer and his dramatic flare pays off and adds quite an element of depth.
Whilst Glass Eyes is a simple three minute piano song about instant regret, the backing strings make it much more dramatic in tone. The Numbers (formally Silent Spring) spends half the song as a calamity of noises with easy on the ears lyrics before the song sharply picks up, the strings adding tension before brief lulls and quick reprises, a definitive highlight, similar to Reckoner, but more foreboding dread.
In similar style is long unreleased favourite Present Tense which, surprisingly takes elements from samba. Again, the first half simply uses acoustic guitar and layered vocal tracks before the tempo increases round the midpoint for a full band effort. It's a strange but welcome addition to the bands ever growing catalogue.
As mentioned, nearly half of the tracks featured here have been played in some capacity before, none really having radical changes. Live favourite from their last tour Identikit is now longer, with vocals now slightly ahead of the music and the synth bridge replaced with either a choir or more layered vocals. It took some listens to get used to, but it's a superior version of the song.
Other favourite from the last tour Ful Stop is near identical. After nearly two minutes of buildup, Yorke's simple lyrics and delivery are introduced and the song goes crazy as the only definitive heavy song on the record. It's krautrock influence is similar to There There and These Are My Twisted Words and if you liked those songs, this is another welcome addition.
Although my review probably makes the album sound like a masterpiece, it does have problems, albeit minor. Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief is a laborious prologue to the end (much like it's title). Similar to Yorke's material on Tomorrow's Modern Boxes (that itself easily Yorke's worse release including Radiohead, Atoms for Peace and under his solo banner), the first half is sampled electronica before the strings again try to save the track to nil effect.
It's not terrible per se, but Decks Dark at the opposite end has similar stylistics traits to the track (along with lyrics and musical themes to underrated OK Computer track Subterranean Homesick Alien) and does a much better job. The electronica switched for more traditional instruments, as something brand new, it's a welcome change and uptempo recovery from Daydreaming.
The other somewhat let down is Desert Island Disk, a simple acoustic guitar ballad with soundscaping, it feels like a needed pause before Ful Stop melts your face off. A hypothetical b-side pretending to be something bigger than it actually is.
The album, unlike TKoL which required multiple listens to really appreciate, instead immediately sinks in as an excellent album, even with the five years between releases of albums.
For the most part, the lyrics talk of past mistakes and feature hooks of heartbreak and loneliness, whilst the music nearly perfectly compliments it. There's so many layers and separate elements of quality that will create talking points for years to come and, questions of where exactly does the band go from here (to which you confidently know there's already plans).
At the end of the record, with True Love Waits, now finally an album track over two decades after it's debut and, near enough in the same incarnation that's been floating about for the past decade (simply a piano track with minimal soundscapes and Yorke's vocals at their most fragile), the record ends on a "Don't leave", an intentional choice given the background and lyrical subject matter before it.
If you're a fan of the bands previous work, you'll be asking the same.
Even if you're not, A Moon Shaped Pool is one of the years most introspective and beautiful records. It's negative points are too few and far between to ruin the album and individually, some of the bands best ever material awaits.
Even after years of waiting and nothing coming, Radiohead again deliver a superb album which, still surprisingly after all the extended gaps, is worth it.
9/10
H
@Retcon_Nation
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